Posts Tagged ‘Kristin Krimmel’

Small Wonder!

December 13, 2012

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Low Tide, Bob Wakefield, 11×14. oil on canvas

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Prada, Bob Wakefield, Oil on Canvas, 14×18 inches

Normally, I wouldn’t post a painting complete with frame, but these two paintings just beg for frame recognition. The paintings by themselves would just not be the same.

Bob Wakefield is one of about  20 artists in the Fort Gallery artists collective in Fort Langley, B.C. The show Small Wonder! is the pre-Christmas, salons-style exhibit that allows the artists to bring out their non-series paintings, their small works, trials, sketches, etc. They are beautiful and they are affordable.

Wakefield was originally a student of Susan Falk, who is also with the gallery, and they work in thick impasto and expressionist style.  Falk’s is showing some farm-related imagery – a painting of a red barn, a large drawing of a sunflower, and a painting of her beautiful little iris-rimmed pond that is just big enough for a small row boat and a gaggle of geese. Pond Study is loose and dramatic with autumn colours contrasting with an ultramarine blue.

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Pond Study, Susan Falk. 24×12, oil on canvas

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Two paintings from the series “From the bus: Coquihalla“, Veronica Plewman, each 6×8 inches, acrylic on board.

Plewman is showing 6 paintings from the series, “From the Bus: Coquihalla”.  The paintings describe the area near Merritt and Kamloops in British Columbia where the highway cuts through the mountain pass on Highway 5.  Plewman has captured the wonderful quality of colour that sings through a snowy landscape where, to the unschooled eye, one might be excused to think that there was just white and dark. She paints the blues, rusts, ceruleans and yellow greens that sparkle through when a bit of winter sunshine illuminates the hills. In these small paintings, she manages to describe the mightiness of the mountains and the detail of soft fog captured between the hills or a stand of bare alder with their raw umber branches. These are simply jewels of craftsmanship and vision.

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Search, Bloom, Shine, and Drift,  four prints by Edith Krause, , approximately 9×12 or 10×10 inches.

Several of Edith Krause’s small prints from “The Butterfly Effect” series are available in the show. I wrote about them recently so if you would like to see samples of those, go looking back a post or two.  Search, Bloom Shine and Drift are new works to the gallery and have quite a different feel to them. Krause creates prints with great attention not only to the inherent ecological message but also to the texture and surface qualities of her work. She pays great attention to finishing detail. These works are simply  perfect in craftsmanship.

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“Inukshuk” Pat Barker, Acrylic and Mirror on board. Approximately 8×8 inches.

With Inukshuk, Pat Barker gives us a preview of her upcoming show. She experiments with materials and includes bits of mirror in her design, enhancing the feeling of ice and snow.

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Carolina Poplars, France, Kristin Krimmel, gouache,  6×8 inches approx,

There are a number of works by artist Kristin Krimmel. This early gouache of hers describes the lines of trees along the roadside in France in the Department of the Marne.  Another landscape she offers is a watercolour of a farmhouse near Montpellier. It’s inspiration in style is an adaptation of the pointillists method or working. By overlapping small strokes of pure colour she blends and nuances the image to represent the special heat and light qualities of the Languedoc region on the Mediterranean.

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The Mas, Kristin Krimmel, watercolour on Arches paper

The surrealist of the group, Olga Khodyreva has contributed this fluid image:

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Drama, Olga Khodyreva, Gouache and ink on Paper. 12×12 inches.

It’s reminiscent of Joan Miro, Alexander Calder and Picasso with it’s tumbling figures.

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Winter wandering, Jennifer Chew, 8×10,  Velum and charcoal on wood panel.

Winter wandering describes fine branches emerging from snow. There is a delicate quality of calligraphy in this finely composed drawing.

FH Dempster Highway #1 (Small)

Salmon Glacier, Fiona Howath, 11 x 14, Silver Gelatin photograph

FH Fallen Giant (Small)

Fallen Giant, Fiona Howath,  Silver gelatin photograph, 11 x 14

Fiona Howath is an upcoming photographer whose work, in this exhibition, focuses on the natural landscape. She has crisp focus and  captures exceptional lighting. Detail is as important in the foreground as it is in the back. I particularly like the feathery quality of the ferns in Fallen Giant and in Salmon Glacier, I find the light/dark composition is excellent with the cloud, white above the mountain, casting dark on its slopes and brilliant sunshine delineating the character of the geological formation.

There are lots of paintings from each of the artists. As one is sold, it goes away with the purchaser and another gets put up.
I encourage you to go see the show and maybe even treat yourself to a painting. They are reasonably priced and there is lots of variety. Also there are several smaller items – greeting cards by four or five of the artists, fused glass tree ornaments (Judy Jones),  chap books and other small gift items.

Also featured in this show: Richard Bond, Lucy Adams, Doris Auxier, Fiona Howarth, Dorthe Eisenhardt, Judy Jones.

The location is 9048 Glover Road, Fort Langley, B.C. The gallery is open noon to 5 p.m., Wednesday through Sunday, and the show closes Sunday December 23rd.

Don’t forget to check out the web-site too:

www.fortgallery.ca 

power and connection

October 6, 2012

We pass them by, not even thinking of their significance to our lives. As we photograph, we curse the way they traverse a perfect landscape or clutter our alleyways. Yet the pole and their wires bring us light, telephone, electronic information and mechanization.

They are a metaphor for connectivity and for communication.

I chose to look at them for what they are. I chose to put them in the picture instead of taking them out.

All Paintings in this exhibition are by Kristin Krimmel. They are works in acrylic paint on canvas.

In each painting, I discover things that I did not know. For instance the wires that I thought were all black are in fact varied in colours of white, red, turquoise blue and black. There are ceramic insulators that are a deep burgundy colour and others that are white. Some are glass, in transparent aquamarine. There are more ways to connect and more ways for a line to travel than I had ever suspected.

 

I see that a single wire bending and twisting in the light can change colour just because of  the light source and the shadows which occur.

 

This series is about observation and finding  in the common objects around us. Every painting is a discovery.

This exhibition of all new acrylic paintings by Kristin Krimmel is currently underway at the Fort Gallery at 9048 Glover Road in Fort Langley, B.C.  It runs  October 3 to 21, 2012.

The Plein Air show – Part 1

June 24, 2012

Open Sky, Red Barn, Pat Barker, Watercolour, 22 x 30

At our artists’ collective, we planned this Plein Air show with the thought of connecting with our rural and heritage community, Fort Langley, in British Columbia. It is where the first fort was built on the  Fraser River and it was considered the first settlement and the first centre of pioneer administration. In the late 1800s and early 1900’s a lovely little village grew up around the fort and that is where we have our gallery, in lovely turn-of-the century community, in a turn-of-the century building.

 The Fort Gallery and ‘Growcery’, Kristin Krimmel ,11×14 Acrylic on canvas

Plein Air is a practice of painting that was made popular by the Impressionists. Quite literally, it means “open air”  or  “out in the open” . The artists would pack up all their materials they needed for painting and hike out into the surrounding area to paint directly from the scenery before them. This method of painting (as compared to making drawings and then coming back to the studio to paint) called for some quick responses from the artist. First of all, the light changes constantly  depending on the weather –  whether it’s sunny or overcast, rainy or dry. Then one’s eyes are constricted or dilated. It makes one perceive colours differently.

We advertised in the community that we would be out on the two weekends preceding the show, in the village, painting. In our group, we set out some expectations – that we would be visible to passers-by who could see us painting; and that we would paint some of the businesses so that we would connect with the  community of merchants. We imposed an 11 x 14 inch canvas size so that we could get some unity in the hanging of the show later on.

One of the mandates of our gallery is to work in a contemporary manner; so we choose our members on merit of their vision. A few paint pure abstracts – non representational things where you are not expected to connected to any objects that you might know in this mundane sphere. Several of us are representational – you can tell what the objects are in an image – but they are painted with modern methods – much more modern than the Impressionists. There are surrealists, constructivists and conceptualists amongst us. And then there are some more traditional in their approach. Modern realists.

Another goal of our association is to have the artists stretch beyond their personal comfort level to explore in a fashion that they don’t usually express themselves. For we contemporarians, reverting to a picturesque illustrative style can be quite daunting. We’ve cast it off in “artistic principle” and now are expected to bring it back on.

We realized that not everyone would have time to come to paint, as some of us are restrained by work schedules and family commitments. So in the end, we feared we would not have enough to show and we augmented where possible with previously done plein air paintings. As long as it had been painted outdoors, it would be considered for the show.

 

Pat Barker – 1) Victorian House 12 x  12 inches,; 2) CN Train Station. Acrylic on canvas, 11 x 14 inches,

So it is that Pat Barker, a painter used to working  large canvases with strongly textural surfaces and no literal content,  found herself painting the local CN train station, a relic of the era of train travel (a freight train still goes through the town, daily) ;  the painted Victorian  marvel across from our gallery with all sorts of moldings and spindles in its decoration; and the red barn, above.

“When I first came to Fort Langley,” she says, “I was awed by this red barn and I thought, if I ever lived here, I’d paint that barn. It’s what made me want to find a home in Fort Langley.”  I asked what drew her to the barn, thinking that it might be something special about it’s design but she said “It wasn’t really the barn but this incredible big field and the surrounding hills cradling it.  Everything was so lush and green.” At the opening reception, she explained that she had studied animation at Emily Carr University and that her training had influenced the style in this watercolor. When she said it, I could immediately relate it to her image. Especially, there seems to be a fish-eye lens view of her open sky and the red barn dwarfed by its rural surroundings. She has captured the sweeping cloud formation that make the skies in this area especially interesting.

Olga Khodyreva is primarily a surrealist and non-representational artist. In her recent solo exhibition at the gallery, she was  showing two groups of paintings that show her commitment to her chosen style of painting. So it was a bit of surprise to see her classic realist drawing in this show.

 

Olga Khodyreva, 1) Gasoline Alley,  8×8 inches and 2) Glover Road, 6×9  inches Both are ink and gouache on paper.

See how different it is from her usual surrealist style?

Olga Khodyreva, Dream of the Penguin, Acrylic

It becomes evident that Khodyreva has a classic, draftsman-like talent in drawing and a refined sensitivity to colour. Her drawings are even more remarkable when one considers that the weekend on which she was doing her paintings treated her to rainstorms and misty grey conditions. It’s a wonder she stayed to draw; and the work is nevertheless atmospheric. and engaging.

 

Shari Pratt,  1) Museum of Anthropology in Fort Langley, 11 x 1 4. 2) Community Hall, 11 x 14. both are painted in acrylic on canvas.

In these two paintings and the two  flower garden paintings below, her mastery of colour is obvious. Her colours are beautifully fresh and clean. Her manner of drawing with paint is direct and bold. The sun shines by shifting a single hue through  tonal changes (take a really good look at the irises in the paintings below).

Shari normally paints large canvases with abstracted imagery of figures using acrylics and mixed media. These paintings done Plein Air are not as far from her  usual style as some of the other painters in the group.

 

Shari Pratt, 1) Mrs. Simpson’s Garden in yellow 2) Mrs. Simpson’s garden in purple. Acrylic on canvas 11 x 14 inches.

Lucy Adams has a far greater disparity in her plein air paintings from her usual work than the other artists.

 

Lucy Adams, 1) Windswept trees, 2) Ever restless. Both are 20x 24, acrylic on canvas

“You should have seen me,” says Adams. “We were on the Oregon Coast and the wind was coming at us. It was so cold and I had the canvas on my knees and sometimes propped on my shoes while I painted this.By the time I came back indoors, my fingers were frozen.”  In the past, Adams has demonstrated several styles, preferring to work with unusual materials – like painting on glass or on mirrors. Her last exhibition featured long strips of sheer cloth painted abstractly with impressions of the seasons.

These two paintings above exhibit a freedom in her brushstrokes, a liberty of paint handling that make these paintings especially joyous representations of the forms she is recording.  No mean feat when it’s the restless sea, ever moving, ever changing on the rocks beneath her perch.

 

Susan Falk, Telegraph Trail #1 and #2, 8×10, oil on canvas

Susan Falk was up with Bob Wakefield at Telegraph Trail where Pat Barker, too, found the red barn. The images of Falk and Wakefield are cropped from the landscape to the barn itself. Falk is well-known for her expressionist paintings full of movement. Falk captures the late afternoon sun in a rich harmony of colours.

Wakefield was caught by a downpour on the second day of his Plein Air experience for this show and took refuge under the overhang at the back of the Fort Gallery. There is a lovely wild, lush garden in front of Suzanne Northcott’s art studio. From this view, he painted this charming, painterly oil sketch of the garden and the red door.

Bob Wakefield, Suzanne’s Garden, 8×10, oil on canvas

There  are several other artists to share with you, but duty calls. I’ll post them in a follow up.

There are still one week to go for this exhibition (ends July 8, 2012).  It’s at the Fort Gallery in Fort Langley, B.C.  at 9048 Glover Road. Hours are noon to 5, Wednesday to Sunday.

Hardware Show II

March 18, 2012

It’s not too late! The Hardware show is still on at the Fort Gallery until March 25. It’s the greatest fun

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 Electric rotating fan, brush, wire, metal scrubber and other hardware, approx 30 cm tall. Artist: Bob Wakefield .

Each member of our artists’ cooperative was allowed to spend up to $40 to purchase materials at the hardware store and then had to produce a creation for our Hardware Show. It’s the second we’ve had – the first was in 2009.

It’s always the most intimidating, worse than working with a blank canvas, because for most of us, it’s just out of our comfort zone. But the beauty is that we produce some pretty far out stuff, and it’s the most fun of our yearly group shows.

Here are some more of our creative geniuses and what they came up with:

Jo-Ann Sheen installing her “100 centimeter dash“.

Lucy Adams with her three dimensional Cityscape made from wire mesh, fir frame, paint colour chips.

Judy Jones with her sculpture including distressed pine stool, bucket, wiring, light bulbs

Kathleen McGiveron (ceramist) with her wire formed bird mounted on fluorescent painted plywood

Doris Auxier’s  terrarium filled with fiberglass and illuminated from within by with an LED light

Dorthe Eisenhardt with her floating worm made from dryer venting, yarns and paint rollers for antennae

Olga Khodyreva : White dryer vent and foam packing cloth (approx 48 x  60 inches)

Bette Laughy: marble tile collage

Kristin Krimmel’s “Jonah the paintbrush” or “A Red Herring” made from Styrofoam packing,  metal washers, paintbrush

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Kristin Krimmel with her  foam sculpture (above)

The show continues until March 25th,Wednesday to Sunday, noon to 5 p.m. at the Fort Gallery 9048 Glover Road, in Fort Langley, B.C.

construction/deconstruction

June 29, 2011

Hitachi Graffiti, Kristin Krimmel, Acrylic on Canvas, 32 x  40 inches, 2010

The first visitors to walk in the door on this exhibition were prior colleagues of mine in my Property Management persona – the day job that kept me, the artist, going.

“Whoa!” says Jim, an electrician,  a huge grin on his face, ” Where did the flowers go?”  !!!!!!

Over the past four years since I went artist full time,  I’ve had the luxury to explore other avenues. While I was working, often a flower was the closest I could get to having a model, and the most compliant, time-wise, for me to paint. I threw that all over when I emerged from my working cocoon and went fishing for more exciting material to work with.

These paintings link back to my property management experiences.

The work specific to this show has taken two years to paint. Some of you who have followed my post during this time may have seen some of these images, but then, I decided that if they were all posted, there would be no surprise at the opening of my exhibition at the Fort Gallery in Fort Langley, B.C.
So I stopped posting the images… well, time ran out – I stopped blogging altogether.


Pylons, Kristin Krimmel, Acrylic on Canvas, 32 x  60 inches, 2010

Here is what I had to say in the artist statement:
Over the past five years, there has been an unusual amount of construction going on around Vancouver in preparation for the Olympics, including the cut and cover construction of the Canada Line nearby my former home at Cambie and 41st; and later in Maple Ridge near my new home, with the construction of the new Pitt and the Golden Ears Bridges.

While the construction itself was disruptive and grungy, I took a childlike interest in the bright coloured machines that made it all happen – the excavators, bulldozers, cranes and other equipment. On a grey day, a bright yellow ‘dozer or a bright orange excavator can be the only lively looking thing, amidst dirt and gravel.

Construction is about new building. It sometimes requires demolishing or taking apart what was there before. Deconstruction is the act of taking things apart.

In painting, I’m interested in the “guts” of an image – the shapes, the textures, the surface qualities, the spatial relationships and the colour harmonies.
The construction machines have given me the opportunity to deconstruct the original photo-like image into component parts, to abstract it, to play with ideas of weight and balance, shapes, formalities of composition, and ideas.

Bulldozer, Kristin Krimmel, Acrylic on canvas, 32 x 40 inches, 2010

Liebherr Crane – Pulleys,  Kristin Krimmel, acrylic on canvas, 36×24 inches, 2011

Liebherr Crane, Kristin Krimmel, acrylic on canvas, 36×24 inches, 2011

Liebherr – Site Warrior, Kristin Krimmel, Acrylic on Canvas, 30 x 4 0 inches. 2011

To see more of my paintings, see this web site

http://www.kristinkrimmel.com